Wynton Marsalis Goes Classical and a Kate Bush Classic

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S1: This ad free podcast is part of your slate plus membership today in Studio 360.

S2: A jazz superstar’s journey deep into classical music.

S3: I’m trying to figure what things do we have in common with vocabulary? Can I use.

S4: Wynton Marsalis on his third symphony, the swing symphony, but I’m a jazz musician, so at the end of the day I’m gonna swing. Why? That’s what I like to do.

S2: The album by Kate Bush that blew everybody away. Even Big Boi from Outcast.

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S5: I was like, this is kind of tripped out. This the production, the vocal arrangements. Her voice was so angelic that I fell in love with it. Amirli.

S6: Kate Bush’s Hounds of Love. That’s ahead on STUDIO 360 right after this. This is Studio 360. I’m Colonel and I’m sitting on the steps of the Lincoln Memorial. First level of law, this was Thomas Jefferson’s vegetable garden.

S7: I’d like to have the roasted chicken breast. Very well done. Editing is all about timing. I tried to get a little bit away from the actual subject. You must get second place, right? Studio 360 with Kurt Andersen.

S8: On today’s show, we’re featuring two musicians, neither of whom can be tucked neatly into a single genre. One is Kate Bush and her classic album, Hounds of Love, that we’ll hear about later. But first, my interview with one of the most famous living jazz players and jazz composers and teachers and more.

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S9: But Wynton Marsalis isn’t just about jazz. In 1997, he won the Pulitzer Prize for his work. Blood on the Fields, which was a two and a half hour jazz oratorio, about a couple moving from slavery to freedom. Yes, he thinks not.

S10: Not having not just his own his own freedom is on his mind.

S8: It was the first time a jazz piece had ever won a Pulitzer. It almost always goes to classical composers. But even though Wynton Marsalis is best known as a jazz trumpet player, he’s also a serious classical composer. He’s written four symphonies and a violin concerto, which, by the way, is up for two Grammys last year, along with that violin concerto. He released a recording of his symphony number three, the swing symphony with the jazz at Lincoln Center Orchestra, which he leads, and the St. Louis Symphony Orchestra. Marcello’s his love for classical music began in a very unexpected way and place. A streetcar in New Orleans, his hometown.

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S11: So a guy went into the back of a street called White Trombley from a college, which was unusual for a white guy. He saw my trumpet case and he had a trumpet.

S8: So you wait as a kid in the in the 70s, you’re sitting in the back at Dukakis because that’s not a choir.

S11: You didn’t have to it was not required. That’s where you were. Just it was a mandate. You had you wanted to sit there. Yeah, but it was an area. It was not populated with whites. Gotcha. So this student for some reason stepped across those lines and put his trumpet case down by mine. So I was not that eager to see him. So everybody, of course, thought to look at me, at him, and he was insistent on telling me something. And I was kind of being not as friendly and fuzzy as I should have been. But then he gave me an album, just absolutely random occurrences, said, check this album. And it was an album of a trumpet player named Maurice Andre. And I thought, you know, classical music. Okay, man. The famous Fritz Abidin. No, he was a dead time. I was maybe 13. And I read the album jacket as something said that his parents were coal miners. And I thought, man, is people this guy’s people worked in coal mines and he played classical trumpet. I got to put this on when I get home. So I put it on. It was a recording.

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S3: And I don’t want to know if I could play like this. Just did his players flustered to learn his concerto was off the record.

S11: And then I got into the music study and reading about people about him.

S8: You trained as a classical trombone player. You played at age 14, Haydn Concerto with the New Orleans Symphony. One of your first Grammy Awards was for a classical best classical album.

S9: So you obviously are best known for all of your work in jazz.

S8: But from the very get-go, classical music has been a big part of who you are and more and more your work. Do you think of yourself as one of the other more, more jazz musician?

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S11: Yeah. So I bring the jazz sensibility to to classical music. My father’s jazz musician, I was grew up around the jazz musicians and I come much more spiritually out of the spirit of jazz.

S8: Right. So you’ve been running jazz at Lincoln Center since you were twenty six years old. Basically, you get out of Juilliard and you start this new thing.

S11: No, I actually didn’t graduate from Juilliard. I said, get out. Right. I dropped out. I joined our Blakey’s band when I was 18. Yeah. And the Jessalyn Senate came along. I didn’t really even understand what we were doing. A community of people put it together. Uh-Huh. And, you know, we worked on it and nurtured it. I was always there, but it was very much a community.

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S8: Sure. At that point, did you think of yourself purely as a jazz music player or was classical music more part of your head?

S11: I stopped playing classical music at a certain point because I didn’t feel like a play out a high enough level and develop my jazz playing. Uh-Huh.

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S3: Because I have tremendous respect for for the playing and for the history of all of our instrument and technical demands of playing at a certain level.

S12: But Lincoln Center, though, given that it is the epicenter of classical music in United States, I mean, that must have at least I don’t know. That could have daunted you and said, well, no, I’m just gonna be a jazz player and that’s it.

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S11: And I’m never going to try my hand at being a classical composer. Well, I only tried to write a classical composition because Kurt Mazor, who was the head of the New York Philharmonic, but his son was a trumpet player. So it’s only because he came to a concert of mine when I was like 28, 29, I had not even written for a big band and jazz and said he wanted me to write for the New York Philharmonic. I started laughing like, man, I have never even written for a big band.

S8: Well, and anytime any artist changes their line like, whoa, hold on, you’re supposed to be in this line.

S11: Yeah, that’s a black person is works. And for a man his. If you’re a black man and you don’t want to be condescended to, you’re going to struggle out here. So I tried even as a younger man, to always be as truthful as I could be with what I knew about myself at that time. Kurt Mazola is the reason I started to play it. He did tease me a mess with me. Called me friend. Are you still scared? And interesting about the piece I wrote for the Philharmonic when I met with him about writing it. He said, I’m going to turn the New York Philharmonic over to you for the night before them turn to the millennium. And I want you to write a piece about our common humanity. And I want you to think about why this strain of relationship between Afro-American music and Anglo American music is not being continued at all. This in Gershwin, this and this, this and that. We talked about Naziism and a lot of subjects that were close to him and he revealed personal things to me about, oh, he of course, grew up in that time. And what he saw and what he felt about the importance in German as a German, as a German and about civilization and about what the price is required. And he had a profound effect on me. So it took me 10 years to just come develop enough technology and understanding. I’m trying to figure what things do we have in common with vocabulary? Can I use coming from New Orleans growing up playing classical music? I knew that we had common ground where ragtime marches some forms of American popular song piece of George Gershwin, Burnstein, Duke Ellington. I started to try to figure out how to write for these instruments and what was our common musical ground and what Graham did. I actually know from my upbringing.

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S8: So then you take young Masrour up on the Dare and write this piece for the New York film that they perform and twenty years ago.

S11: And then when I when I finished the piece and we first did it, I was Mantle’s Russian. Five months I work around the clock like it was the words. I mean, it’s on this day. This is all right. All right. It’s so bad in the Philharmonic. Was really a lot of film I play as I went to camp with @newday. We’re trying to really play it so I couldn’t blame him. And I thought, man, I don’t think this is for me. I felt like I committed a public crime was long. It’s like an in 45 minutes. Squire Jasmine was so ambitious. And I saw it on a schedule. We were gonna play it with the Czech National Orchestra. So after the New York Philharmonic permit, which was around around New Year’s December 27, 2010, ninety nine. Ninety nine. Then he was like showed up in two thousand, man. And I was like, man, can we cancel this? Just the thought of sitting through this again. I worked on it, but United could didn’t change that much of it. I lost the tape of it was so depressing. Then when we went to play it, you know, it was interesting. Like it sounded a lot better.

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S8: You said that the three big fundamental concepts in jazz for you are the blues swing and improvisation. Yeah, and swing is is fundamental. Yeah. What does that mean to you?

S11: It means that that’s the African element of the music where two times are played against each other. So why is African music? I mean, just traditional generic African this term, polyrhythmic Mesia But it means polyrhythmic in the sense of two diametrically opposed concepts meeting and balancing with each other in going from one side to the other. So it doesn’t mean three in the context of four, it means three and four.

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S13: So one thing is going to do do, do, do, do, do, do, do, go, go, go.

S11: You’re going to either side’s a rhythm night and day together. Yin-Yang male-female together. So both of those things sounding at one time. Right. Western musicians like we we learn to play a much as in two waltzes in three. You’re going to play in two and three at once. I mean, I don’t know if I can do that.

S8: Interesting. It’s a quantum musical form. You know, X and Y.

S11: I tenuousness, right? That’s exactly correct. Quantum computers work. Right. And it was interesting how that plays out. I was playing basketball. My daughter, she’s eleven and one of her friends was also was twelve and a friend to my daughter. She said, if you see me, go right, go left. Two against one. But it was just intelligent way to understand the spatial layout.

S8: That’s interesting. And you’re saying that that is out of Africa. Nobody plays. But but uniquely, you’re saying that’s what it brought to the world’s mass.

S11: I mean, so many things. I mean, how to deal with the pentatonic scale. African music, large pentatonic. I have no idea what you mean yet. Doo doo doo doo d d d d do. Like you hear all these kind of melodies. Yeah. Another thing is the dance beat sensibility, the fact that rhythms represents something in life, that there’s a symbolism to a rhythm. And then another thing in African music is the supremacy of sound, that inside of a thing is a sound. And that sound is itself an indication of a consciousness. Another thing to be learned from new music in the deepest thing that we don’t understand quite in the West, is that a traditional thing that is renewed over and over and over and over again is reborn every time is renewed. So we struggle with these concepts.

S8: It’s funny, I was just reading something about neurobiology where that is exactly how I understand. And it’s true that memories are literally each time you retrieve a memory from your mind, it is rewritten.

S11: There you go. And sometimes you actually want to rewrite it. But, you know, you will find all these similarities throughout the physical universe. Drought is because the insights into the nature of musics in human beings and ARDS, they’re not things that just came about the last 400 years.

S8: Well, let’s talk about this swing symphony of yours, which is simply number three.

S11: Well, let’s talk about just even how it starts. I start with like a dome dome to demonstrate for one, two, three, four.

S14: But I have the drums going. T t 2, 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 6, 123456.

S11: So even in the first measures I have that juxtaposition of the three and the four, the African 6 and the bottom.

S8: So this swing symphony has 7 movements and sent Lewis to New Orleans. Midwestern moods are the names of some of the midnight moon. All these. So were you saying, OK, I’m going to do a history of American music, the evolution of the swing rhythm?

S11: A lot of times I’m doing things for people, the musicians who come after me, who will be interested in knowing how these things were used, impossibilities so that when they can realize things that maybe I don’t have the technology to realize, they’ll be able to see. Okay. Ragtime is related to marches and Mingus, Rudi’s and his. These type of progressions can work with this and you can orchestrate these things this way. And if you’ll say you can function like a guitar and he’s big percussion section, complete things based on what Art Blakey and Gene Krupa. I need this type of drums played and I don’t have to have Benny Goodman.

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S8: I put a lot of the stories of our music inside of the music and this is our Ellington interpreter and African stuff and how that got into like anybody, right?

S11: Like Beethoven, interpretive dance rhythms of Bach. You have to interpret something. Shakespeare and togepi. In Greek mythology, there are no eyeline canvases. Yeah, yeah. I mean, you have to interpret something in the human story kind of America. I always try to do things I noted, I’ve experienced that I’ve lived. If I go through these movements, I could tell you each one of them, what I know specifically about that and what that experience is and and it would give listeners a sense of the movements.

S8: I mean, it really does start out with roots in ragtime.

S3: And yet there’s ragtime, maple leaf, rag it to slow dragonballs slow drag and then show how the orchestration works between the two. Then I wouldn’t go on as much, which I tried to arrange for the orchestra in such a way. You could see how the spatial layout of New Orleans jazz improvisation was based on March’s.

S11: The all American pep is like a 1920s. Happy days are here again.

S3: pre-depression music, a lot of trick drumming and things went on in Charleston rhythm. I use Charleston rhythm in beginning. I turn around all different beats. Show how the string section can play really complicated syncopated things as if they were jazz musicians. So I know orchestra members are really amongst the greatest train musicians in the world. They want hard things to play. You don’t want to play home. I try to write them difficult parts, just like with a jazz band would play. And we go from that to a rumbling and an Afro-Latin dance craze hit American in 1920.

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S11: You know, Midwestern mood is the first time we swing, that’s like Count Basie.

S3: Tribbett Beny governments ban he played with Xavier Coogan’s Orchestra and Kilmer’s orchestra orchestras on the less dance program in the 1930s. They represent a kind of panorama of Americana that you could see.

S11: And Linda, what a kind of Benny Goodman judge, a jungle.

S3: Don’t put up with to put to Nessa first time.

S15: I really will out basslines and have the orchestra swing in in the time with the jazz band and the first time we played that winter with the Berlin Philharmonic. It was actually electric.

S3: Because, you know, you making suppositions that, OK, this if I write them in three, if I put them with a riff up here, if I put the bases in actually. All right. He and I put them in front of the baseline descend. I’m making a lot of calculations and I don’t know is true because I’ve never heard it. But when we get to that in section of number three, that was the first time in his symphony, I thought damnedest thing actually could work together.

S4: And by the way, this is the St. Louis Symphony and your band. We can send it together.

S8: So when you’re performing with these two different groups together, you and the maestro are up there together conducting the maestro is conducting us into Baghdad trumpet section where we always sit and you don’t need you.

S11: I need to concentrate on following. Right. I’m I’m the fourth trumpet and I’ll traumatization and we have to play. And if I start to look around and think about what a part was played, I can’t play my part.

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S8: How are you? Fourth trumpet. That’s when I was play the trumpet. The band fourth trumpet meant you weren’t as good as me.

S11: I was second trumpet in a jazz band. We’re not ordered by. Our social standing is different. The value of each thing is indivisible because now when we sit in ensemble, we’re all one body. So it doesn’t matter whether you get to rebound or I get the disorder, that’s just what it is.

S8: So you’re like a director who also acts in his movies or something.

S11: In that sense, I guess, you know, maybe in the beginning. But now with our band, we are music direct. So it. Because I wrote the music. Yes. I must say things about it. But when we sit under the maestro, he’s conducting. So I learned over the years, you can’t sit in rehearsal and interrupt and just stop it. Stop to rehearsal and micromanage every detail of the performers you get with the maestro.

S16: You only have a certain amount of time to rehearse. You don’t have infinite time. Be very practical with the time. And sometimes the maestros will have an instinct bedded in instinct you have even if you wrote it. So to be able to know when to when to follow and how to wait and listening, give things give things a chance and be a participant. It’s also important.

S12: Of we who aren’t in jest say. Oh, jazz is more improvisational, classical music is play. Every note is written. I don’t know what to what degree that is or isn’t true. But as you’re composing these swing symphony and classical pieces, I mean, that must be like improvisation in your head.

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S8: Right.

S11: Every compose is improvised. Right. Because they didn’t write it like you write a poem or you write a novel and you don’t know what you’re going to tell the next second. Really, you have you have an outline. So, you know, if you in a novel, you’re not just free-form in it. True. You kind of you. It’s true. So the bit larger structure is the more the more definitive and clear the pillars have to be to one of the main things I’ve had to learn is how to on a page give very clear, non fuzzy instructions. And it’s difficult for me.

S8: And you mentioned the plan, the basic maps, sketch or whatever when you start. Do you have that?

S11: I work on that longer. Sometimes in the music now sketch things out for five months. I’m very clear written sketch that I may follow. When I start right it, but the music takes precedence over what I’ve written sketch. But I look at that outline over and over again. I write down forms, meanings, moods, examples, but doesn’t like writing a book.

S8: Having written books, that sounds exactly like me. And as you’re writing, I mean, how do you write? Do you use your trumpet? Use a piano? What do you do?

S11: Sometimes I use the panels of times I sing it. If I’m riding in a car like I don’t like to fly. So I just am in the car, man. Just getting it in the music. I just start singing it and sometimes I use the piano. I get a foundation, whatever I have access to and depending how late I am, I use what I have.

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S12: Given that you are in these two forms, classical and jazz, that that were supposed to be dying for six years, along with radio, by the way. And you know, what is different in the last 25 years is that young people cannot or 40 years or whatever can’t escape the marketing bubble Dell must do.

S11: Youth is not a quality of you young. You’re going to get old. So youth is not. You’re a great trumpet player, are you? I’m young. I’m with you. Okay. You know, it’s a fact. As effective of a cycle that we will go in. But but like you observed. Yeah, I think did. Why does everything have to be following the trend? I got up. I believe in classical music. I love it because music is fantastic. He put a lot into that music. Brahms put a lot into it. Shostakovich. Oh, my God.

S8: What I love about this album and your music is this proximity of jazz being invented in the first half of the 20th century. And you know, all this other classical music, I mean, the simultaneous thing. And it feels to me you just like the first half the 20th century a lot.

S11: I like all of the music. Yeah. You know, I will use any of the music that I want to use. I will use every garbed music, soundscapes, royalism, any of that.

S3: But I’m a jazz musician, so I didn’t that day I’m gonna swing higher. Why? That’s what I like to do.

S17: So just because a group back, a division has decided, you know, we’re not swinging. OK, might have to swing. You know, we don’t have you know, you don’t have to play melody. I like it.

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S11: Yeah. Yeah. There’s no one right way to do things. There are many ways. So why should the way that I’m perceiving and awaited Coltrane, all these people, why should that we not exist in only this way. So for me, the opportunity to interface with more, more people and expand the world that I’m a in the play with so many great musicians of all ages and be a part of that that takes precedence over some theorems or some whatever is the next fair. And also try my peace not to be topical. I don’t want a topical issue. I want to deal with the human issue.

S8: Yeah. Are you making it work in anything new now? Yeah, I’m always working with stuff. What’s what’s the big thing?

S3: I just recorded a piece called The Ever Funky Low Down.

S4: And he used to come from vocabulary.

S11: I grew up playing in the 70s, but wouldn’t want on his melodies, like musicians like my father in James Black. What they were playing in the 60s and it is his host called Mr. Game and he takes you through all the ways I’m going to exploit you to accept my narrative. And Mr. Game is an actor on Mrs. Wendell Pierce. You see. Trust me, you are thinking about right and wrong and all that.

S18: Save your nonsense. Everything is relative.

S11: Wendell Pierce was on the show. He windowpanes, my boy. So, you know, we went to high school. He’s a little younger than me, but I absolutely love him once again as well. I’m surprised. I would’ve guessed you’re the same age. But he’s a little younger than me. And, you know, high school is when you when you get have been a 50s.

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S8: We all love the same three years apart. You know, you keep fighting all the good fights you find a year man is great.

S7: Thank you for talking. Pleasure with me. You know me much. Love him.

S2: That story was produced by Studio 360 Sandra Lopez Solve this year at the Grammys. Wynton Marsalis, his work is up for no fewer than three awards. Best contemporary classical composition for his violin concerto in D Major.

S6: And off that album, the violinist Nicola Benedetti is also nominated for best instrumental solo.

S9: Plus, Wynton and his jazz at Lincoln Center orchestras. No, no check on the Ruben Blades is up for Best Latin Jazz album. Our next story about a groundbreaking musician is from our project with deejay Colleen Kosmo, Murphy’s program, classic album Sundaes. The series we do is called This Woman’s Work. We’ve highlighted classic albums by female artists that have had lasting impacts on the culture. This time the subject is the artists from whom we took the name of the series. The Singer-Songwriter Kate Bush.

S19: This woman’s work was a single on her sixth now beat. You can. Scott, no, this woman’s.

S8: But today, we’re plunging into the album just before that, Hounds of Love, which came out in the fall of 1985. Here’s Carlene.

S20: When I was a teenager, I remember flicking through my Aunt Pauline’s vinyl kelpies and being amazed by her adventurous collection that included ABBA, the cabaret soundtrack and Miles Davis Bitches Brew.

S21: But there was one artist that truly intrigued me with her innovative sounds, arrangements and a dramatic soprano that was unlike any other voice I had ever heard.

S22: Kate Bush was miles away from any of the mainstream pop and rock blaring from my transistor radio. Kate’s high pitched voice and poetic lyrics sounded both vulnerable and strong at the same time. And the music itself was a unique hybrid that fused pastoral acoustic folk and progressive rock with dramatic baroque pop arrangements and art rock edginess.

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S23: The lyrics at times embrace the childlike wonder of Peter Pan, but also a liberated young woman’s views on sex. Like me, I’ll cast rapper songwriter producer Big Boi also has a family member to thank for his discovery of Kate Bush, his own uncle, Russell.

S24: I was like the only one, like my uncle was really clicked guy. He kind of just, you know, had all types of music, you know, from Peter Gabriel, Genesis and Def Leppard, Guns and Roses and Metallica, Led Zeppelin, The Beatles. And he turned me on to all of that type of music. And I was just kind of just diving deep into it.

S25: I just wanted to get into more. And so he had like all of a record. So I would just, you know, kind of put it on the turntable or a cassette in and listen. I just was bouncing around from one album and just kind of just got a love for from there.

S21: American radio stations famously stick exclusively to one format like Classic Rock or Top 40 or country, so it’s no wonder the Bush flummoxed radio programmers. They just didn’t know how to shoo Horner into playlists, so she didn’t get the radio play.

S20: But Kate Bush was a household name in her native United Kingdom. Her first LP, The kickin’ Side, released a 1978 when she was just 19 years old, reached the top 10 in many album charts throughout Europe. And it wasn’t only the album that was a huge success, which eventually went platinum, but also its lead single, Wuthering Heights, which was inspired by Emily Bronte’s novel of the same names. Cape Bush performs at five different times on the u.k.’s most important music TV show. Top of the Pops. She also performed the song on Saturday Night Live in the U.S. But even with this massive promotional push, her debut album failed to win over the American audience. Kate Bush did have cult fans in the USA.

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S21: Not only my Aunt Pauline and big boys Uncle Russell, but also mainstream musicians like Prince and Madonna. So Kate Bush did manage to draw a small but loyal fan base in the U.S., an unlikely conglomerate of people who appreciated the artistic boundary pushing and who themselves defied boundaries. Americans like Big Boy.

S26: I was like, this is kind of tripped up the production, the vocal arrangements.

S25: Her voice was so angelic. I fell in love with it. Amirli. So it really is. Took me on a deep dive, really, you know, I mean, the melodies and the layers of music that she laid on her songs that were just levels to it as well as the storytelling aspect of it.

S21: It was her fifth studio album 1985’s Hounds of Love that secured Kate Bush a broader American fan base. And this was her first album to break the Billboard Top 40 college and commercial radio support helped. So did an array of cleverly produced videos on heavy rotation on the nascent MTV network and a big push at retail chains like the New England based Strawberry’s Records and Tapes, where I was working as a teen age record clerk. And then there was a music itself.

S27: You.

S20: Hounds of love balance, whimsical and adventurous lyrics with an intricate and lush sound that made use of state of the art recording of mixing, it had big pop hooks and energising rhythms and the effect was long lasting. Hounds of love attracts new fans even decades later. American singer songwriter Julia Holter was born the year before the album was even released and discovered howls of love in a more roundabout 90s fashion.

S1: I can’t remember if it was from a friend or if I found it online, but I think a friend was listening to this woman’s work and she had also introduced me to Napster.

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S19: So I like downloaded this woman’s work. Please, you can. Stan, I know this woman’s.

S28: I was really moved by it.

S29: I kept like listening to it over and over again because it was so beautiful and strange to me, like, I guess it made me feel uncomfortable for some reason. I think her voice was just so intense.

S30: It.

S31: This is so interesting. Like, I was really captivated by how strange it sounded to me.

S32: And it’s funny to think that it would sound so strange, but it is strange. I mean, it’s really mysterious music.

S33: You know, it was very emotional, very sentimental, like really sweet.

S32: And it was complex. Her music holds like the emotional complexity of life.

S31: Running up that hill, which is like one of her biggest hit was pretty powerful for me.

S5: Yeah. Like sixth grade ride my bicycle, just kind of Penland to it. You know, I mean, I didn’t really know what it was about or whatever, but the rhythm just caught me.

S34: Feel.

S5: It was moving. You know, I’m saying this as far as like the patterns and the roles and the drum, you know. I mean, it was kind of remind me of a steady march.

S35: Plus me ride my bike school going up and down heels like I use it as motivation to get school on time. You know, about time they brought a sense into a kind of strike according to like the music is supposed to evoke emotion in motion. That is, music brought out to me was just that, just pure joy. I just love me. Makes you feel good. And that’s what music is supposed to do.

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S36: Of course, have the biggest single running up that hill is in the hands of my father. What inspired that song?

S37: It’s very much about love and the power of love and the frustration of misunderstanding between relationships. If a man can become a woman and a woman, a man within their relationship, that perhaps they don’t stand a bit more about each other.

S38: And that’s the deal with God. Yes. Geometry.

S39: All of these little details that come through in the hands of love, something that always strikes me as this little detail of the like.

S40: Doo doo doo doo doo doo.

S39: Dude, dude, dude is like so good for some reason. So delicious.

S31: It’s not just the instrumentation, but also the focus on cueing like on the vocals. The way that the vocals sound, so much attention is paid to all of these little details that really make it special.

S21: When we think of Cape Bush, we usually think of her voice, her melodies, and also her flair for drama and performance, the dancing, the acting in and directing of her own videos.

S20: But we don’t always consider Kate Bush, the producer, even though she has produced every single one of her studio albums since her fourth LP, The Dreaming, her most experimental record yet. When it came time to record her next LP, House of Love, she built her own recording studio and a barn on her parents farm where her mom would offer the musicians the quintessential English tea as sandwiches.

S41: What were you looking for? What makes your studio special for you?

S38: Well, it’s got all the environmental things that we want the right kind of sounding blues. And we’ve got with the outboard equipment and the right kind of speakers and everything. So what we want. Which is why we did it.

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S21: Kate took 18 months to complete the album with 12 months spent on overdubs and mixing alone. She recorded with Del Polmar, her bass player, engineer and romantic partner, along with Trevor Horn, a Peter Gabriel. Kate Bush was one of the early ambassadors of the Fairlight CMI.

S41: Now for my money. The star of the show was this the Fairlight Computer Musical Instruments, $26000 worth of electronic wizardry that’s been developed over the last five years by Camaraderie and Peter Vogel.

S23: And she wrote most of the album on that early synth along with the Lynn Drum machine. And afterward, we replaced some of the electronic sounds with traditional instruments, the slower work placements she could get, the sounds and the intricate details just the way she wanted.

S33: It’s so obvious how much fun she has with recording. And I just think that that’s like an artist who is successful, who totally does whatever she wants, and that includes her use of technology that was rare for a woman to be using hands on at the time.

S25: The different layers that she put in the music, it wasn’t a straightforward the way that the track had completely changed to something else in the middle of of the song, totally changed direction. Is this. It was adventurous, you know. I mean, like I’m a firm believer in, you know, organic vibes.

S42: And her albums just seems wholly organic to me, like I like to say, organically created, never genetically modified. You know, that’s how you get the purest form of music.

S43: Hi.

S42: The mother stands for Comfort was like one of my favorites, I just loved the eeriness of it. It’s just a sad soundscape. Man, it was like, you know, music is cinematic. You know me, you can kind of imagine yourself in like a Neverland if you want to call it that. You know, I’m Santa, kind of just lose yourself into her voice.

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S20: And then famously, there were Kate Bush’s pipes.

S42: I think it’s just to the different levels, you know, saying she can go super low until hitting one of the highest notes possible, like the range or vocal range is incredible and impeccable. And it’s so clean.

S25: You know, to me, your vocals are like I said, this is angelic. Like you can’t mimic that. That’s definitely a gift she was born with. And she’s very talented man.

S23: Much like Joni Mitchell, Kate pushes melodies, take unexpected twists and turns.

S39: That kind of the unfamiliarity of where the melody was going to go. And also the production hounds of love, it’s a highly structured song cycle that manifests as two suites.

S21: And this worked well with a two sided vinyl format. Kate later said on French television that she thought of the two sides as two different albums.

S20: Side one is called Hounds of Love, and it’s comprised of five songs linked together through the theme of love and relationships and feature the album’s four hit singles. Side 2 is entitled The Ninth Wave, and as a continuous narrative stretched over seven songs that tells the story of a girl struggling to stay alive in the sea whilst awaiting rescue.

S21: I asked big boy if hounds of loves two distinct musical suites, was a source of inspiration for outcasts double album Speaker Box The Love below that feature, one disc recorded by Big Boy and the other by his outcast partner Andre 3000.

S25: I guess subconsciously was there. Like I said, I mean, we’re influenced by everything you know to me, so I’ve never thought about it that way. But that’s a great observation. Songs like jigga Life, you know what I mean?

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S35: That’s like one of my all time favorites.

S20: Now, at one point during the recording of Hounds of Love, Kate Bush got writer’s block. So she went to Ireland to explore her Celtic heritage. She made a temporary move to Ireland’s Windmill Studios, a favorite of U2, where she recorded some of the sounds of Ireland’s, such as the boran drum. The fiddle. Celtic whistles and alien pipes, which you can hear on Hello Earth and Shake of Life.

S44: Where does breaks down to the fiddle and then they have a hole down, you know. I mean, it’s incredible to do things like that in a song and take the listener on an adventure. And that’s what music is about, you know, giving people that escape from life to kind of feel themselves and go into their heads and just kind of dig deep down in their souls and and figure out who they are.

S45: Is he a love dream of sheep?

S25: It’s so cinematic and you know, if you want to kind of curl up in lock lips, watch a girlfriend, you can do that.

S46: This to me.

S21: Julia Holter has her own favorite track from the ninth wave suite on side Two of Hounds of Love, which is sort of the most kind of unassuming song, I guess, or it’s just so sort of more simple and show.

S31: But it’s the morning fog.

S39: It’s so crazy like how it makes me feel. And it’s really warm. And like, you feel like you’re supported by your loved ones. There’s like it feels like someone’s there for you. It has a very strong warmth to it. That is powerful and feels like love versus, you know, something really like metaphysical or something.

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S21: Kate Bush is a big horror film buff. The song Hello Worth was inspired by Vernor Herzog’s Nosferatu and the title track opens with a scene from 1975’s Night of the Deep Geometry.

S20: All aspects of visual performance fascinated Kate Bush and she studied mime and dance with Lindsay Kemp, who also taught David Bowie. So it should come as no surprise that the multi-talented performer had an interest in getting behind the camera when it came time to filming her own epic videos, which were sometimes like short films themselves.

S23: Bush directed two of the album’s videos.

S20: The Big Sky was nominated for best female video at the 1987 MTV Video Awards and featured her joyous and uninhibited dancing, which was a stark contrast to the overly choreographed, sexualized dancing of other popular videos of the time. Her video for Hounds of Love was inspired by Alfred Hitchcock’s film The 39 Steps, and sees her using her Lindsay Kemp training as she and her lover try to escape capture from the soldiers of order. For outcasts, big boy, Kate Bush is the pinnacle.

S42: She’s my favorite because she sold me different ranges of sound. You know, the production.

S25: It just show me layers, layers, layers and how to tell a story with music. The depth to the thought of the songs and then how she kind of brings it life, you know, talking about cloud busting.

S38: Yes. It’s very much inspired by a book that I found on the shelf about nine years ago. And it’s written by called Peter Ryan. And the book’s called The Book of Dreams. And it’s very much written from a child’s point of view about his father. And it’s really about the magic of that relationship and how much his father meant to him. And they have a very special thing they can do. They go up to a hill with a machine that his heart is built and they make it rain.

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S42: Talking about weather manipulation before people even knew about that cloud seeding and things like that. Like that’s it is crazy.

S21: Julia Holter was directly inspired by Kate Bush and Hounds of Love during the recording of her most recent album, Aviary.

S29: I was really stuck on this song called logia to you. I like heard this like bassline in my mind. I was like, Oh, what is that? I was hearing the sound of the timbre of the bass from Mother Stands for Comfort. I really love the way that that sounds, I think that’s what we need. We need that like fretless bass. And really what it is is like a a second melody. It’s almost like a duet of the bass and her voice singing. I want to try that. And I had already recorded a lot of the song, but I wrote to Devin Hoff, who’s an incredible bass player that I’ve worked with for years. And I was like, I’m really into the sound of the bass on mother like that. Tambor.

S31: Stress the. Yeah, I just love how it works in that song, the way the bass interacts with the vocal and how much of a mood it is. It’s such a mood.

S21: Hounds of love or May as Kate Bush’s most commercially successful album. And it even pushed up Madonna’s Like a Virgin from the number one spot on the UK album charts. It’s marriage of artistically unbounded production and sophisticated storytelling with driving rhythms and a pop sensibility made it sound dull from anything else on the radio in the mid 80s and it still stands out.

S31: This record will continue to be important because it it feels like this one person’s vision. It’s very specific and intense and very moving and complex.

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S35: I don’t know if I wanted to be like her because I’m a man, but I wanted to have that same prowess as an artist to be diverse like she was. You know, I mean, that’s be classified as one thing. You’re in a lane, alter your home and you kind of write your own story.

S6: Our story on Hounds of Love by Kate Bush was produced by Colin Kosmo Murphy with Studio 360’s Jocelyn Gonzalez. The interview clips of Kate Bush are from the British show’s old Grey Whistle Test and Music Box. And that’s it for this week’s show. Studio 360 is a production of PR II in association with Slate.

S4: Our production team is Jocelyn Gonzalez into Adam Newman. Sandra Lopez once had Sam Kim, Zoe Saunders, Evan Chang, Morgan Flannery, Tommy busy area. And I’m Kurt Andersen. He revealed personal things to me and he had a profound effect on me. Thanks very much for listening. Ah! Ah!

S9: Public Radio International. Next time on Studio 360.

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